Episode 27 - The Path To The Black Lodge


FADE IN:

INT. LOG LADY’S CABIN - DAY

MUSIC: CALL OF THE BLACK LODGE    272K

As she speaks directly to us, the ‘LOG LADY’ MARGARET LANTERMEN holds her wooden log in her arms like a baby. The LOG LADY sits with her back to the fireplace of her cabin and beside a table.

LOG LADY

MUSIC ENDS: CALL OF THE BLACK LODGE    272K

FADE OUT:




INTRO:




FADE IN:

MUSIC: TWIN PEAKS THEME  

CREDITS run with the scenes of a bird in a tree, the mill machinery at work, the road into town with the welcome sign, the hotel by the falls and the river.

MUSIC ENDS: TWIN PEAKS THEME  

FADE OUT:




FADE IN:

EXT. EASTER PARK - NIGHT

MUSIC: MILL FIRE    16K

We PAN DOWN.


CLOSE ON: RUSTY TOMASKI

We FOCUS on a CLOSE-UP of RUSTY TOMASKI’S frozen expression peering out through the facial cavity of a large black pawn built by WINDOM EARLE. The pawn begins to move back and forth.

DEPUTY #1 (OFF SCREEN)

DEPUTY #2 (OFF SCREEN)

DEPUTY #1 (OFF SCREEN)

DEPUTY #2 (OFF SCREEN)


BACK TO SCENE:

In the gazebo of Easter Park, seven LAWMEN work at rocking the giant black pawn. A DEPUTY jumps up and over the railing to the gazebo to lend a hand. The LAWMEN continue to rock the giant black pawn until it leans heavily to one side toward the exit.

DEPUTY #1

DEPUTY #2

DEPUTY #1

Collectively, the LAWMEN work to pick the giant pawn up and move it out of the gazebo.

DEPUTY #2

DEPUTY #3

DEPUTY TOMMY ‘THE HAWK’ HILL removes a tie of yellow police cautionary tape from the gazebo railing.

DEPUTY #1

DEPUTY #2

DEPUTY #3

DEPUTY #1

DEPUTY #3

DEPUTY #1

DEPUTY #2

We FAVOR ON the LAWMEN and PAN LEFT as they now zigzag past parked police cruisers, with their lights flashing, as they move the giant black pawn towards a trailer.

DEPUTY #1

DEPUTY #3

DEPUTY #1

DEPUTY #2

DEPUTY #1

DEPUTY #2

As the LAWMEN continue to move the giant black pawn in the background, we FOCUS on a huddle between FBI SPECIAL AGENT DALE COOPER, SHERIFF HARRY S. TRUMAN, DEPUTY ANDY BRENNAN and RUSTY’S friend, a HEAVY METAL ROADIE. The HEAVY METAL ROADIE wears a red baseball cap and a black leather vest over a jean jacket over a black concert shirt.

HEAVY METAL ROADIE

COOPER

HEAVY METAL ROADIE

SHERIFF TRUMAN

HEAVY METAL ROADIE

COOPER

HEAVY METAL ROADIE

SHERIFF TRUMAN

DEPUTY #2

ANDY begins to get choked up, saddened by the story. HEAVY METAL ROADIE speaks with a growing nervous chuckle.

HEAVY METAL ROADIE

ANDY begins to cry. Caught up in his emotions, the HEAVY METAL ROADIE begins to cry also.

SHERIFF TRUMAN

In the background the LAWMEN continue to wrestle with the giant black pawn in the trailer.

DEPUTY #2

DEPUTY #1

DEPUTY #2

SHERIFF TRUMAN pats ANDY’S shoulder and gestures that he should lead the HEAVY METAL ROADIE away.

DEPUTY ANDY escorts the HEAVY METAL ROADIE away.

COOPER




CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

We FOCUS on a CLOSE-UP of a chess set lying on LUCY MORAN’S reception office counter. Seated nearby, LUCY reaches out and picks up the white queen from the chess set.

We PAN UP and RIGHT. LUCY is sitting in her reception office in front of the open office window. In the background, two DEPUTIES work on collecting clues from the dismantled giant black pawn in the reception area.

MUSIC ENDS: MILL FIRE    16K

SHERIFF TRUMAN enters the building and, wearing a smile, taps the counter at the reception office window twice.

SHERIFF TRUMAN

LUCY

AGENT COOPER follows right behind SHERIFF TRUMAN. Smiling, COOPER crouches slightly and also taps the counter at the reception office window, three times.

COOPER

LUCY

SHERIFF TRUMAN and AGENT COOPER head towards TRUMAN’S office. DEPUTY ANDY follows right behind them carrying two pink boxes of donuts.

TRUMAN and COOPER stop short as LUCY speaks to them.

LUCY

SHERIFF TRUMAN waves an index finger on his left hand - quietly gesturing that he’s got it.

TRUMAN, COOPER and ANDY walk off towards the office.

LUCY

Still holding the donut boxes, ANDY stops, turns towards LUCY and walks up to her reception office window.

ANDY

LUCY

ANDY

LUCY

LUCY hands ANDY the photocopy ad for the Miss Twin Peaks contest.

LUCY

ANDY smiles brightly.

LUCY

ANDY drops his smile.

ANDY

LUCY

LUCY looks down at her abdomen and tugs at her shirt.

LUCY

ANDY

LUCY grabs a pencil and a pad of paper to take notes.

LUCY

ANDY

Stunned by that information, LUCY looks up to ANDY, wide-eyed.

LUCY



CUT TO:

EXT. THE GREAT NORTHERN HOTEL - DAY

An establish shot. On a cold, gray day, we FOCUS on the falls. We PAN UP and LEFT to FOCUS on the hotel perched on the nearby cliff.




CUT TO:

INT. THE GREAT NORTHERN HOTEL - DAY

In the quiet lobby, a BUSBOY carries firewood over to the roaring fire in the fireplace. RANDY ST. CROIX is at work behind the lobby counter.

MUSIC: JOHN WHEELER’S THEME    50K

JOHN JUSTICE WHEELER briskly walks up to the lobby counter.

JOHN

RANDY

In the background, a tall blonde WOMAN enters the lobby.

JOHN

RANDY

JOHN

RANDY

Before he rushes off, JOHN briefly eyes the WOMAN as she passes behind him.

MUSIC ENDS: JOHN WHEELER’S THEME    50K




CUT TO:

INT. BENJAMIN HORNE’S OFFICE - DAY

MUSIC: OWL CAVE

We FOCUS on the Native American Indian painting of a large face on the pine log wall behind BENJAMIN’S desk.

We PAN LEFT. In a corner of the room stands an easel with a large poster of an enlarged black and white photo of the pine weasel.

BENJAMIN HORNE sits shirtless as DR. WILL HAYWARD examines him.

MUSIC ENDS: OWL CAVE

MUSIC: LOVE THEME FROM TWIN PEAKS

BENJAMIN

DR. HAYWARD walks over to his medical bag, lying on top of BEN’S desk, to put away is stethoscope.

DR. HAYWARD

DR. HAYWARD turns around to face BEN.

DR. HAYWARD

BENJAMIN

DR. HAYWARD walks towards BEN.

DR. HAYWARD

BENJAMIN

DR. HAYWARD walks up to BEN.

DR. HAYWARD

BENJAMIN

There’s a KNOCK at the door.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

BENJAMIN

BEN stands up and walks towards the door.

The door to the office opens and JOHN WHEELER steps inside. BEN shakes JOHN’S hand in greeting and points to DR. HAYWARD.

BENJAMIN

JOHN walks up to DR. HAYWARD and they shake hands.

JOHN

DR. HAYWARD

DR. HAYWARD walks back to BEN’S desk to retrieve his medical bag. BEN puts his shirt back on.

DR. HAYWARD

DR. HAYWARD makes his way out of the office but before he leaves he turns back to BEN.

DR. HAYWARD

DR. HAYWARD leaves through the open office door.

JOHN

BENJAMIN

JOHN

BENJAMIN

JOHN



CUT TO:

INT. HAYWARD HOUSE - DAY

MUSIC: LOVE THEME FROM TWIN PEAKS

In the dusty attic of the house, we FOCUS on a distant attic fan as it slowly turns. We PAN LEFT and MOVE FORWARD until we come upon DONNA HAYWARD who is seated in front of an old chest and is reading her birth certificate.

DONNA


DONNA’S POV:

Through DONNA’S POV we FOCUS on a CLOSE-UP of the birth certificate that she reads aloud.

DONNA (OFF SCREEN)

The section for the father is blank.


BACK TO SCENE:

DONNA sits quietly, perplexed.


DONNA’S POV:

Through DONNA’S POV we FOCUS on a CLOSE-UP of the birth certificate. DONNA turns the page to a photo album. We FOCUS on a photograph of DR. HAYWARD and his wife EILEEN HAYWARD. Both are dressed in costumes. We PAN RIGHT to another photograph where EILEEN and DR. HAYWARD are seated at a table with BENJAMIN HORNE standing behind them holding his hands behind their heads with two fingers on each hand raised - mocking donkey ears.

A telephone from downstairs RINGS and is quickly answered.

EILEEN (OFF SCREEN)


BACK TO SCENE:

EILEEN (OFF SCREEN)

DONNA

EILEEN (OFF SCREEN)

DONNA

EILEEN (OFF SCREEN)


DONNA’S POV:

Through DONNA’S POV we FOCUS on the photo album DONNA has been looking through. DONNA turns the page to another set of photographs.


BACK TO SCENE:

DONNA centers on one specific photo in the album.


DONNA’S POV:

Through DONNA’S POV we FOCUS on the photo she is staring at. The photo is of BENJAMIN feeding EILEEN cake in a 4th of July celebration.


BACK TO SCENE:

DONNA SIGHS and closes the album.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS




CUT TO:

INT. THE GREAT NORTHERN HOTEL - DAY

Carrying a suitcase, AUDREY HORNE, wearing a black and white checkered suit jacket and a black skirt, enters the lobby. A BUS BOY passes in front of her pulling a cart loaded with suitcases. DEPUTY HAWK sits in the reception area reading a magazine. Behind the check-in counter, RANDY ST. CROIX spots and greets AUDREY.

RANDY

Hearing AUDREY’S name mentioned, DEPUTY HAWK stands up.

RANDY hands AUDREY several envelopes.

AUDREY

RANDY

AUDREY lifts her suitcase to RANDY. RANDY grabs the suitcase and puts it behind the counter.

AUDREY

Peering at her messages, AUDREY starts to walk away from the counter. DEPUTY HAWK walks up to AUDREY.

HAWK

AUDREY

HAWK

AUDREY

AUDREY walks back out of the lobby escorted by DEPUTY HAWK.




CUT TO:

INT. BENJAMIN HORNE’S OFFICE - DAY

BEN and JOHN sit on the steps leading to the double set of office doors.

BENJAMIN

JOHN

BENJAMIN

JOHN doesn’t answer.

BENJAMIN

JOHN

BENJAMIN

JOHN

BENJAMIN

JOHN

MUSIC: JOHN WHEELER’S THEME    50K

BENJAMIN

JOHN reaches inside his jacket to his shirt pocket.

JOHN

JOHN hands an envelope to BEN, stands up, and leaves the office through the open door.

BENJAMIN

MUSIC ENDS: JOHN WHEELER’S THEME    50K




CUT TO:

INT. SHERIFF TRUMAN’S OFFICE - DAY

We FOCUS on a Styrofoam cup, with a nibbled lip, that is used to hold three pencils. MAJOR GARLAND BRIGGS grabs and pulls out a pencil from the cup. We PAN LEFT and then UP to FOCUS on MAJOR BRIGGS and CAPPY, one of the BOOKHOUSE BOYS.

MAJOR BRIGGS

MAJOR BRIGGS hands CAPPY a notepad.

CAPPY

CAPPY takes the notepad, grabs a few more notes and walks off. As he is about to leave the office he bumps into SHERIFF TRUMAN.

SHERIFF TRUMAN

TRUMAN pats CAPPY on the shoulder before letting him leave. SHERIFF TRUMAN walks up to MAJOR BRIGGS. AGENT COOPER follows right behind TRUMAN. Both are carrying cups of coffee.

SHERIFF TRUMAN

MAJOR BRIGGS

MAJOR BRIGGS and SHERIFF TRUMAN shake hands.

SHERIFF TRUMAN

MAJOR BRIGGS

MAJOR BRIGGS shakes hands with AGENT COOPER.

COOPER

MAJOR BRIGGS

COOPER

MAJOR BRIGGS

MAJOR BRIGGS turns around to a nearby television and plays a video. MAJOR BRIGGS steps back. AGENT COOPER and TRUMAN move closer to get a better view. The tape plays a black and white recording of WINDOM EARLE who is dressed in a white coat and is speaking to several people off screen.

WINDOM

Perturbed, AGENT COOPER looks up to MAJOR BRIGGS.

WINDOM

COOPER presses rewind button on the VCR. As the tape rewinds the image of EARLE on the monitor plays backwards very fast. COOPER exhales a sigh of burden.

COOPER

COOPER drops his serious demeanor for a moment.

COOPER

MAJOR BRIGGS raises his eyebrows in response to COOPER’S odd remark.

COOPER stares at the television.

COOPER

COOPER points to the television monitor.

COOPER

COOPER points to the sketch of the Owl Cave petroglyph on the blackboard.

MUSIC: OWL CAVE


INSERT: OWL CAVE SKETCH

We FOCUS on a CLOSE-UP of the Owl Cave petroglyph on the blackboard.


BACK TO SCENE:

SHERIFF TRUMAN

TRUMAN walks towards the blackboard sketch to get a closer look.

COOPER

CAPPY returns to the office. COOPER looks down at the scattering of files on the desktop. COOPER commandingly puts his coffee mug down.

COOPER

MAJOR BRIGGS

MAJOR BRIGGS heads out of the office. TRUMAN pats MAJOR BRIGGS on the shoulder.

SHERIFF TRUMAN

MAJOR BRIGGS

AGENT COOPER gives a thumbs up hand sign.

COOPER

MUSIC ENDS: OWL CAVE

MUSIC: WINDOM EARLE’S THEME

We PAN DOWN and RIGHT to FOCUS on a Banzai tree sitting atop TRUMAN’S desk.




CUT TO:

INT. EARLE’S CABIN - DAY


CLOSE ON: WINDOM EARLE’S RIGHT EAR

We FOCUS on a CLOSE-UP of WINDOM EARLE’S RIGHT EAR where he listens in on the conversation in TRUMAN’S office from the electronic bug implanted on the Banzai tree from which he hears through an earphone speaker.

WINDOM boldly LAUGHS.


BACK TO SCENE:

Dressed in all black, WINDOM removes the earphone speaker. LEO JOHNSON walks by, still wearing pajamas and a robe, carrying firewood.

WINDOM

WINDOM LAUGHS.

WINDOM

WINDOM stands up and walks over to his computer.

WINDOM

WINDOM types a few commands into his briefcase computer that loads a series of images of the Owl Cave petroglyph onto a nearby monitor.

WINDOM

WINDOM CHUCKLES. We PAN SLOWLY LEFT to a monitor which has an enlarged image of the Owl Cave petroglyph.

WINDOM

We continue to PAN LEFT, passing the monitor and a printer until we momentarily FOCUS on a chess set.

WINDOM quickly swipes a hand across the chess set and scatters the chess pieces, knocking them off the board. WINDOM then slaps down two enlarged transparency prints and some other paper onto the cleared chess set board.

We SLOWLY PAN UP.

WINDOM (OFF SCREEN)

We PAN UP a small pile of thick paperback books and FOCUS on WINDOM’S remote switching device used to trigger the electric shocks, sitting atop the stack of books.

WINDOM (OFF SCREEN)

LEO walks up to the desk and beside the pile of books. LEO reaches out and quickly, and quietly, grabs the remote device and puts it in the pocket of his robe.

WINDOM (OFF SCREEN)

We PAN UP.

WINDOM (OFF SCREEN)

We FOCUS on LEO’S face as he cautiously stares at WINDOM. LEO looks down at the ground.


LEO’S POV:

Through LEO’S POV we FOCUS on the floor near LEO’S feet where he then lifts his foot to reveal the king chess piece lying on the floor.

WINDOM (OFF SCREEN)


BACK TO SCENE:

LEO returns his attention to WINDOM.

WINDOM (OFF SCREEN)

MUSIC ENDS: WINDOM EARLE’S THEME




CUT TO:

INT. DOUBLE R DINER - DAY


INSERT: CHERRY PIE

We FOCUS on a slice of cherry pie as a CUSTOMER, using her fingers, scoots a portion onto her fork.


BACK TO SCENE:

Warmly dressed in a coat and a knitted cap and seated at the island counter, the CUSTOMER brings the fork to her mouth and eats its. Suddenly, the CUSTOMER’S right hand begins to uncontrollably shake.

SOUND EFFECT: SPIRIT PRESENCE RINGING    2K

The CUSTOMER drops her fork and alarmingly stares at her shivering hand. With her left hand, the CUSTOMER reaches out and grabs her trembling right hand.

SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING    2K

We PAN LEFT and FOCUS on a booth in the background where SHELLY JOHNSON and BOBBY BRIGGS, dressed in a dark suit with a yellow tie, sit together. SHELLY reads a written speech out loud.

SHELLY

Finished with the speech, SHELLY lifts her head and comments.

SHELLY

BOBBY lifts his head from its leaning position on the table.

BOBBY

SHELLY

BOBBY

A bit annoyed, SHELLY rolls her head.

SHELLY

BOBBY

SHELLY

BOBBY

SHELLY

BOBBY lowers his head.

SHELLY smiles.

SHELLY

BOBBY lifts his head back up.

SHELLY

MUSIC: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)

BOBBY

BOBBY takes a deep breath and shakes his head slightly.

BOBBY

BOBBY and SHELLY stare into each other’s eyes.

BOBBY

A bit embarrassed, BOBBY lowers his head.

BOBBY

SHELLY smiles, leans over the table and moves close to BOBBY’S face.

SHELLY

SHELLY and BOBBY kiss.

A telephone RINGS.

Still close, face-to-face, BOBBY whispers.

BOBBY

SHELLY lets off a short, quiet chortle and then kisses BOBBY once more.

HEIDI (OFF SCREEN)

SHELLY rolls her eyes over the disruption. They break their kiss. SHELLY stands up but before she walks away she bends down and kisses BOBBY once more.




CUT TO:

INT. ROADHOUSE - DAY

Hand circular power saws ROAR as several WORKERS prepare the interior displays for the beauty contest. MAYOR MILFORD steps inside the building through front entrance and looks around the interior before darting off.

MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)

We FOLLOW ON MAYOR MILFORD as he walks past scattered WORKERS and walks up to a booth where LANA MILFORD, wearing a red dress, is seated. MAYOR MILFORD takes a seat next to LANA.

MAYOR MILFORD

LANA

MAYOR MILFORD

MAYOR MILFORD lets off a short and distinguished laugh.

LANA

MAYOR MILFORD

MAYOR MILFORD looks LANA over.

MAYOR MILFORD

MILFORD LAUGHS.

MAYOR MILFORD

MAYOR MILFORD scoots closer to LANA.

LANA

MAYOR MILFORD

MAYOR MILFORD looks down at LANA’S legs.

MAYOR MILFORD

MAYOR MILFORD momentarily lifts his gaze and rolls his eyes in delight. LANA and MAYOR MILFORD stare into each other’s eyes.

MAYOR MILFORD

LANA pats several kisses on MAYOR MILFORD’S lips.

MAYOR MILFORD turns away.

MAYOR MILFORD

LANA caresses MAYOR MILFORD’S head and continues to plant kisses on his face.

MAYOR MILFORD

LANA backs away.

LANA

MAYOR MILFORD

LANA

MAYOR MILFORD

LANA puts her arm around MAYOR MILFORD and pulls him close to her for a hug.

LANA

As he cries a bit like a baby, MAYOR MILFORD leans on LANA’S shoulder.

LANA



CUT TO:

EXT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

An establish shot. We view the front of the building.




CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

In an interrogation room of the building, we get a bird’s-eye view from above looking down upon AGENT COOPER, AUDREY, DONNA and SHELLY as they sit together around a small square table. Laid out on the table in front of COOPER are the three torn strips of the poem given separately to AUDREY, DONNA and SHELLY. We ZOOM IN.

COOPER

COOPER picks up the invitation card.

MUSIC: WINDOM EARLE’S THEME

AUDREY

COOPER

We PAN and FOCUS on DONNA.

DONNA

We PAN LEFT and FOCUS on SHELLY.

SHELLY

We PAN RIGHT slightly and FOCUS on AUDREY.

AUDREY

We PAN RIGHT and FOCUS on AGENT COOPER.

COOPER

COOPER slides the aligned torn slips of paper to SHELLY.


SHELLY’S POV:

Through SHELLY’S POV we FOCUS on a CLOSE-UP of the three torn strips of the poem. SHELLY draws the strips together providing a better view of the writing.


BACK TO SCENE:

Surprised, SHELLY looks up to COOPER

SHELLY

We FOCUS tightly on COOPER but as he talks we PAN RIGHT to move behind him.

COOPER

We continue to PAN RIGHT and momentarily FOCUS on DONNA.

COOPER

We PAN LEFT to momentarily FOCUS on AUDREY.

COOPER

We PAN LEFT and once again move behind COOPER as we PAN to FOCUS on SHELLY.

COOPER

MUSIC ENDS: WINDOM EARLE’S THEME

FADE OUT:




FADE IN:

INT. EARLE’S CABIN - DAY

MUSIC: WINDOM EARLE’S THEME

We FOCUS on a CLOSE-UP of a circular table saw. LEO JOHNSON wipes away sawdust from the saw’s table top. We PAN LEFT and UP.

WINDOM (OFF SCREEN)

WINDOM LAUGHS.

We FOLLOW ON LEO as he continues to wipe away sawdust.

WINDOM (OFF SCREEN)

WINDOM LAUGHS again. LEO stares at the collection of queen cards with the head shot images of AUDREY, DONNA and SHELLY pinned to a ceiling joist.

WINDOM (OFF SCREEN)

LEO points to the card with his wife’s image.

LEO


LEO’S POV:

Through LEO’S POV we FOCUS on a CLOSE-UP of the card with SHELLY’S image.

WINDOM (OFF SCREEN)



BACK TO SCENE:

WINDOM sits in a chair cleaning a crossbow.

WINDOM

MUSIC ENDS: WINDOM EARLE’S THEME


LEO’S POV:

MUSIC: LAURA PALMER’S THEME

Through LEO’S POV we FOCUS on a CLOSE-UP of the card with SHELLY’S image.

LEO (OFF SCREEN)



BACK TO SCENE:

WINDOM

WINDOM puts the crossbow down and clasps his hands together.

WINDOM

LEO continues to stare at the card.

WINDOM

WINDOM stands up and walks towards LEO.

WINDOM

WINDOM stands a short distance from LEO.

WINDOM

WINDOM waves his right hand and SNAPS his fingers.

WINDOM

WINDOM waves his left hand and SNAPS his fingers.

We FOCUS on LEO has he continues to stare at SHELLY’S card.

WINDOM (OFF SCREEN)

LEO

LEO turns around to face WINDOM and furnishes the remote switching device used to trigger the electric shocks.

LEO

MUSIC ENDS: LAURA PALMER’S THEME

MUSIC: WINDOM EARLE’S THEME

LEO turns around and aims the remote towards WINDOM.

WINDOM

Feigning fear, WINDOM backs up as LEO slowly walks towards him.

WINDOM

WINDOM puts his hands together in a praying fashion.

WINDOM

LEO

LEO presses the button on the remote and the electric shock collar around his neck come to life sending crackling high voltages of pain into his body.

LEO

LEO releases the button and the shocks stop. LEO stares at the remote and at his hands in confusion. LEO points the remote at WINDOM once more and pushes the button. Once again, the shocking pain strikes at LEO’S collar.

LEO

A bit amused WINDOM walks towards LEO.

The pain is so great that it knocks LEO down backwards to the floor. Shaking in agony on the floor, LEO releases the button.

WINDOM LAUGHS in perverse joy over LEO’S confused, self-inflicted torment.

In desperation, LEO pushes the button one last time.

LEO

LEO shakes in piercing pain on the floor.

WINDOM continues to LAUGH. LEO finally releases the button on the remote. WINDOM walks over to a nearby shelf and grabs a pair of lockable metal restraints.

WINDOM

LEO MOANS in pain on the floor. WINDOM walks up to LEO.

WINDOM

WINDOM SNAPS open the metal clasp of the restraints.

WINDOM

MUSIC ENDS: WINDOM EARLE’S THEME




CUT TO:

INT: THE GREAT NORTHERN HOTEL - DAY

AUDREY walks into the lobby of the hotel and meets PETE MARTELL, who is quietly standing by a bookshelf. PETE politely removes his hat as he greets AUDREY.

PETE

AUDREY smiles brightly.

AUDREY

AUDREY walks off. PETE turns and watches AUDREY walk by. PETE tips his head, appreciating her beauty, and then walks off.

We FOCUS on the door to the nearby elevator in the background as the door slides open. Out of the elevator steps JOHN WHEELER carrying two suitcases.

MUSIC: JOHN WHEELER’S THEME    50K

JOHN briskly walks into the lobby and has to sidestep to make way for a WOMAN passing by. JOHN stands and looks around the lobby before walking off.




CUT TO:

INT: BENJAMIN HORNE’S OFFICE - DAY

A bit depressed, BENJAMIN sits behind his desk with his chin resting on the desktop at the corner of his desk.

In the background, there is a KNOCK at the door to the office. BENJAMIN turns towards the door as it opens and AUDREY steps inside.

AUDREY

BENJAMIN

MUSIC ENDS: JOHN WHEELER’S THEME    50K

BENJAMIN stands up to greet his daughter.

BENJAMIN

AUDREY

BEN and AUDREY pat a kiss on the lips in greeting.

AUDREY

AUDREY puts her purse on top of BEN’S desk.

BENJAMIN

AUDREY removes her checkered black and white jacket and holds it folded on her arm.

AUDREY

BEN waves a finger at AUDREY and then paces the floor in front of her.

BENJAMIN

BEN stands still in front of AUDREY.

BENJAMIN

AUDREY

BENJAMIN

AUDREY

BENJAMIN

AUDREY LAUGHS.

AUDREY

BENJAMIN

AUDREY

BENJAMIN

BENJAMIN grabs AUDREY’S upper arms.

BENJAMIN

AUDREY

BENJAMIN closes his eyes.

MUSIC: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)

BENJAMIN

AUDREY

BENJAMIN turns to his desk and leans over it.

BENJAMIN

Bending over his desk, BENJAMIN reaches for a letter.

BENJAMIN

AUDREY

BENJAMIN finds the letter and hands it to AUDREY. Slightly upset, AUDREY scans the front of the letter before turning back to her father.

AUDREY

BENJAMIN

AUDREY rushes off to the door of the office.

BENJAMIN

Standing in the doorway, AUDREY turns to BENJAMIN.

AUDREY

BENJAMIN moves toward AUDREY, pleading with his arms held out.

BENJAMIN

AUDREY

BENJAMIN

AUDREY leaves and closes the door behind herself.

BENJAMIN

Dejected, BENJAMIN kneels at the footsteps leading to the double front set of doors to his office.

MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)

SOUND EFFECT: SPIRIT PRESENCE RINGING    2K

Still kneeling, BENJAMIN quickly turns his head to look over his shoulder and into his office. BENJAMIN’S eyes widen.




CUT TO:

INT. THE GREAT NORTHERN HOTEL - DAY

In the lobby, PETE stands in front of a roaring fireplace with his right hand held out as he stares at a painting on the mantel above the fireplace.

PETE

SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING    2K

AUDREY walks into the lobby and we FOLLOW ON her as she walks up to RANDY, who is standing next to the lobby counter.

AUDREY

RANDY

AUDREY pauses as she reconsiders her question. AUDREY spots PETE standing by the fireplace.

AUDREY

AUDREY quickly walks up to PETE. PETE turns to AUDREY.

AUDREY

PETE

AUDREY

AUDREY grabs PETE’S hand and leads him out of the lobby. Surprised, PETE quietly follows AUDREY.

PETE

PETE removes himself of AUDREY’S grip so that he can retrieve his hat. A MAN seated in a chair with his feet resting on a table cuts off PETE’S access to his hat sitting on an endtable.

PETE

The MAN lowers his legs so that PETE can pass and grab his hat. PETE puts his hat on and then stares back up at the painting above the fireplace. AUDREY walks up to PETE and grabs his arm.

AUDREY

AUDREY locks arms with PETE and leads him out of the lobby. PETE waves goodbye to the painting.




CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - DAY

MUSIC: OWL CAVE

We FOCUS on the sketch of the Owl Cave map on the blackboard. We ZOOM OUT. DEPUTY ANDY walks up to the blackboard and looks it over. SHERIFF TRUMAN walks around the desk in his office.

COOPER

TRUMAN takes a seat on the edge of his desk and faces the sketch.

SHERIFF TRUMAN

We view the entire office. AGENT COOPER also sits atop TRUMAN’S desk on the opposite corner.

COOPER

SHERIFF TRUMAN

COOPER

SHERIFF TRUMAN

DEPUTY ANDY leaves the room.

MUSIC ENDS: OWL CAVE

AGENT COOPER walks up to the closed blinds of TRUMAN’S office window. Birds can be heard cheerfully CHIRPING outside. COOPER spreads a gap in the horizontal blinds with his right hand to get a view outside. As COOPER peers outside, TRUMAN diverts his attention from the Owl Cave map sketch and notices COOPER’S distraction.

SHERIFF TRUMAN

COOPER

TRUMAN smiles.

SHERIFF TRUMAN

COOPER

COOPER removes his hand from propping the gap in the blinds.

COOPER

For a moment TRUMAN lowers his head as he remembers his lost love.

COOPER turns to TRUMAN.

COOPER

COOPER smiles giddily. TRUMAN grins at COOPER’S response.

SHERIFF TRUMAN

TRUMAN reverts to thinking about JOSIE.

COOPER

COOPER drops his smile and turns back to the window.

COOPER

SHERIFF TRUMAN

Once again, COOPER props open a gap in the horizontal blinds with his right hand and looks outside.

SOUND EFFECT: SPIRIT PRESENCE RINGING    2K

COOPER’S right hand begins to tremble, shaking the blinds slightly. COOPER pulls his trembling hand towards himself and for only a moment looks at it. Unable to stop the trembling, COOPER grips his right hand securely with his left hand. The shaking stops.

SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING    2K




CUT TO:

EXT. WOODS - DAY

On a clear, sunny day, MAJOR BRIGGS, WHISTLING a tune, carelessly walks alone through the forest. MAJOR BRIGGS stops whistling and looks over a tall tree on his path. Admiringly, MAJOR BRIGGS walks up to the tree and pats one of its limbs.

MAJOR BRIGGS

Suddenly the MAJOR senses something and moves his right hand to the back of his head behind his right ear.


CLOSE ON: SCAR

We FOCUS on a CLOSE-UP of a reddish-brown scar of three triangles joined at one point at the back of MAJOR’S BRIGGS neck behind his right ear. MAJOR BRIGGS touches the scar.

We ZOOM OUT. MAJOR BRIGGS turns around.


BACK TO SCENE:

Singing Home On The Range, WINDOM EARLE and LEO JOHNSON walk in tandem towards MAJOR BRIGGS concealed within a black and white horse costume.

WINDOM

MAJOR BRIGGS stands silently, confused by the approaching horse costume.

WINDOM

WINDOM and LEO, still concealed in the horse costume, stop right in front of MAJOR BRIGGS.

WINDOM

MUSIC: NIGHT LIFE IN TWIN PEAKS

WINDOM opens the front of the costume, right below the horse’s head, and sticks out his right hand brandishing a dart gun. WINDOM quickly aims the dart gun at MAJOR BRIGGS and fires it.

A dart hits MAJOR BRIGGS in the chest. In shock, MAJOR BRIGGS looks down at the dart protruding from his chest before quickly pulling it out. Stunned, MAJOR BRIGGS looks at the dart in his hand.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS

WINDOM

MAJOR BRIGGS begins to tremble as the drug takes affect. MAJOR BRIGGS looks at the horse costume and realizes its WINDOM EARLE in disguise but he is now powerless to react.

WINDOM HUMS the rest of the song he had been SINGING.

Under the growing effects of the dart’s drug, MAJOR BRIGGS stumbles and falls to the ground on his back.

WINDOM

MAJOR BRIGGS points and murmurs his distress at WINDOM.

MUSIC: NIGHT LIFE IN TWIN PEAKS

WINDOM removes the costume’s horse head and throws it to the ground. WINDOM turns to the back end of the horse.

WINDOM

MAJOR BRIGGS finally succumbs to the drug and collapses flat on the ground.

WINDOM revels in the moment by LAUGHING in sheer ecstasy.

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS

CUT TO BLACK:




FADE IN:

EXT. TWIN PEAKS AIRPORT - DAY

We FOCUS on a pair of tire blocks as a GROUND CREW MEMBER removes them from around a tire and walks off. We PAN UP. JACK WHEELER walks up the steps to his jet but before he closes the door to the jet he turns around one last time in hopes of spotting AUDREY. JACK closes the door.




CUT TO:

INT. DOUBLE R DINER - DAY

MUSIC: COUNTRY #6

As ANNIE BLACKBURN prepares to wipe the counter clean, we FOCUS on a mess on top of the island counter with a slightly soiled Miss Twin Peaks Pageant leaflet nearby. ANNIE wipes the counter and places the dirty towel onto the leaflet and crumples the mess together to throw it out. AGENT COOPER steps up to the counter, reaches out and holds ANNIE’S hand.

COOPER

We PAN UP to view ANNIE’S bright eyes and smile as she speaks to COOPER.

ANNIE

COOPER

COOPER takes a seat at the island counter.

COOPER

ANNIE finishes wiping the counter.

ANNIE

COOPER points at ANNIE, You’ve got it.

ANNIE

COOPER

ANNIE walks off to the coffee station near the short order window at the back of the diner. COOPER spins around on his stool.

As COOPER stares at the counter, ANNIE returns with a coffee cup, a pot of coffee and a silverware set. ANNIE lays out the silverware on a napkin and slides it over in front of COOPER.

ANNIE

ANNIE pours a cup of coffee.

We VERY SLOWLY begin to ZOOM OUT.

COOPER

ANNIE

COOPER

The bell to the front door RINGS as a CUSTOMER exits the diner.

ANNIE

ANNIE and COOPER LAUGH. COOPER grabs his cup of coffee.

COOPER

COOPER takes a sip of coffee.

ANNIE

Another WAITRESS walks by and goes into the kitchen.

COOPER

COOPER puts his coffee cup down.

ANNIE

ANNIE lets off a nervous CHUCKLE.

COOPER

ANNIE

The WAITRESS walks out of the kitchen. The swinging door CREAKS like a rusty hinge spring.

MUSIC ENDS: COUNTRY #6

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)

COOPER

ANNIE

COOPER

ANNIE

Recognizing the quote, COOPER SLAPS the countertop.

COOPER

ANNIE nods her head, You’ve got it.

COOPER picks up his coffee cup and takes a sip.

ANNIE

The WAITRESS walks away from the short order window with a plate of food.

COOPER

ANNIE

COOPER puts his cup down and stands up.

COOPER

ANNIE

COOPER

We STOP ZOOMING OUT. We can now view a good portion of the interior of the diner. Now in the distance, COOPER and ANNIE stare into each other’s eyes. COOPER and ANNIE lean over the counter to kiss.


CLOSE ON: ANNIE and COOPER

We view a CLOSE-UP of ANNIE and COOPER as they lean close together over the island counter, kissing. COOPER backs from the kiss and, belated, looks around the diner to check if anybody is gawking at them. With the coast clear, COOPER resumes kissing ANNIE.

The sound of BREAKING GLASS disrupts ANNIE’S and COOPER’S kiss. COOPER leans farther over the island counter to view the source of the noise.


COOPER’S POV:

Through AGENT COOPER’S POV we view the floor behind the island counter where a bin of plates and glasses sitting on a shelf under the island counter has fallen to the floor. All the plates and glasses have shattered.


INSERT: DRIPPING SYRUP

SOUND EFFECT: COFFEE DRIPPING    29K

Through SLOW MOTION, we FOCUS on CLOSE-UP of coffee as it slowly, almost painfully, drips from one of the broken plates. Drip by drip ECHOS.

SOUND EFFECT ENDS: COFFEE DRIPPING    29K

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)




CUT TO:

EXT. TWIN PEAKS AIRPORT - DAY

MUSIC: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)


BIRD’S-EYE VIEW:

We FOLLOW ON PETE MARTELL’S powder blue Packard Mill pick-up truck as he races down the runway.

AUDREY

As JOHN’S jet begins to pull out onto the runway it gets cut off by PETE’S truck as PETE brakes hard right in front of the jet.


BACK TO SCENE:

AUDREY quickly gets out of the truck, runs up to JOHN’S plane and waves her arms.

AUDREY

Slightly upset, AUDREY begins to smile as she sees JOHN’S reaction. In the background, PETE moves his truck out of the way.

Seated in the cockpit, JOHN smiles and waves at AUDREY. JOHN opens the door to his jet and walks out.

JOHN

JOHN spreads his arms out as AUDREY rushes up to him. They embrace each other, pull away and then kiss deeply.

Teary eyed, AUDREY looks into JOHN’S eyes.

AUDREY

JOHN

JOHN runs his left hand through AUDREY’S hair.

AUDREY

JOHN

AUDREY

JOHN

AUDREY

JOHN

AUDREY

JOHN smiles.

JOHN

AUDREY

JOHN

JOHN kisses AUDREY. Holding AUDREY’S hands, JOHN backs up towards his plane but, dazed, walks straight back into his plane. JOHN waves AUDREY to pass into his jet. AUDREY enters the jet and JOHN follows right behind her, closing the door behind himself.


PETE’S POV:

From PETE’S POV a distance away from the jet we watch JOHN step into the plane and close the door.


BACK TO SCENE:

Sniffling, PETE is teary eyed after watching the relieved exchange between JOHN and AUDREY. PETE rubs his teary right eye.

SOUND EFFECT: SPIRIT PRESENCE RINGING    2K

PETE becomes alarmed as his right hand begins to tremble. PETE stares at his right hand as it shakes uncontrollably. PETE reaches out with his left hand and grabs his right hand. The shaking stops.

MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (NO VOCALS)

SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING    2K

PETE looks back out towards the jet.




CUT TO:

EXT. EARLE’S CABIN - DAY

An establish shot. Surrounded by the woods, we view the front of the rickety old, gray cabin with smoke billowing out of its chimney.




CUT TO:

INT. EARLE’S CABIN - DAY

MUSIC: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)

With only one foot on the ground, MAJOR BRIGGS, dressed in his usual Air Force uniform, lies tied to a large archery shooting target against a wall of rectangular hay bales that line the back of the cabin wall. Standing a distance away, WINDOM EARLE, dressed in all black, loads an arrow into his small crossbow.

WINDOM

WINDOM feels the point of the sharp arrow.

MAJOR BRIGGS

WINDOM points the crossbow towards MAJOR BRIGGS.

WINDOM

LEO, still wearing his red robe, stands next to WINDOM. WINDOM aims the crossbow and fires.

Scaring MAJOR BRIGGS, the arrow hits the wall just a few inches away from his head.

LEO hands WINDOM another arrow. WINDOM bends down as he pulls back the tension string.

WINDOM

WINDOM installs the arrow into the crossbow.

MAJOR BRIGGS

With the crossbow pointed at MAJOR BRIGGS, WINDOM looks at LEO.

WINDOM

Without aiming or even looking at MAJOR BRIGGS, WINDOM pulls the trigger and fires the arrow.

The arrow lands right beside MAJOR BRIGGS ribs on his right side, close enough for the MAJOR to GRUNT.

WINDOM puts the crossbow down and walks up to MAJOR BRIGGS.

WINDOM

MAJOR BRIGGS

WINDOM turns around.

WINDOM

WINDOM reaches into his coat pocket and pulls out a hypodermic syringe and a vial.

WINDOM


INSERT: HYPODERMIC SYRINGE

We FOCUS on a CLOSE-UP of the hypodermic syringe as WINDOM charges it with the contents of the vial, a bright yellow liquid.

WINDOM



BACK TO SCENE:

WINDOM

While he backs up towards MAJOR BRIGGS, WINDOM taps the syringe to remove air bubbles.

WINDOM

WINDOM viciously plunges the needle into MAJOR BRIGGS’ chest and injects its contents.

WINDOM turns towards LEO. WINDOM mocks throwing the hypodermic syringe like a dart towards LEO.

WINDOM

Scared to death, LEO quickly scrambles backward.

WINDOM GIGGLES in delight. Still smiling at LEO, WINDOM puts the syringe back into this coat pocket and brushes his hands. WINDOM spins to MAJOR BRIGGS and salutes him.

WINDOM

LEO walks back out of his defensive position.

MAJOR BRIGGS

WINDOM stands right next to MAJOR BRIGGS.

WINDOM

MAJOR BRIGGS

WINDOM LAUGHS.

WINDOM

WINDOM points at MAJOR BRIGGS as he asks the next question.

WINDOM

As the drug takes effect, MAJOR BRIGGS begins to move his head back and forth.

MAJOR BRIGGS

WINDOM

WINDOM touches MAJOR BRIGGS’ face and waves his right hand about in a S formation, signifying feminine curves. Again, WINDOM points at MAJOR BRIGGS as he asks the next question.

WINDOM

LEO moves a bit closer.

MAJOR BRIGGS

WINDOM

MAJOR BRIGGS

WINDOM

MAJOR BRIGGS

MAJOR BRIGGS uncontrollably begins to speak.

MAJOR BRIGGS

WINDOM gently slaps MAJOR BRIGGS’ face.

WINDOM

LEO still watches cautiously from a distance.

WINDOM

LEO walks up to MAJOR BRIGGS and removes the binds that hold him up against the wall.

WINDOM

WINDOM walks away as he gathers what MAJOR BRIGGS has revealed.

WINDOM

MUSIC ENDS: NIGHT LIFE IN TWIN PEAKS (0:00 - 0:10)

FADE OUT:




FADE IN:

INT. BLUE PINE LODGE - DAY


ANDREW’S POV:

Through ANDREW PACKARD’S POV, we FOCUS on a CLOSE-UP of a white circle, a circle representing the new moon on the black puzzle box.

CATHERINE (OFF SCREEN)

We ZOOM OUT. The other, nearby moon phases can be seen.

ANDREW rubs his finger over the white circle and then to the left over a waning phase of the moon.

ANDREW


BACK TO SCENE:

Standing together at the dining room table, CATHERINE MARTELL and ANDREW look over the puzzle box.

ANDREW

ANDREW walks off to the kitchen.

CATHERINE

CATHERINE puts the box on the table and carefully slides it to her right.

ANDREW returns with a heavy wooden rolling pin.

CATHERINE

CATHERINE takes a seat in front of the box.


CATHERINE’S POV:

Through CATHERINE’S POV, we FOCUS on a CLOSE-UP of the puzzle box with its circular arrangement of twelve phases of the moon and the twelve symbols of the zodiac. CATHERINE brushes her hands along the side of the box.


BACK TO SCENE:

Frustrated, CATHERINE folds her arms and turns to ANDREW.

CATHERINE

ANDREW puts the rolling pin down on the table and picks up the puzzle box.

ANDREW

ANDREW presses the new moon phase symbol. Intrigued and annoyed, CATHERINE stands up and reaches for the puzzle box.

CATHERINE

ANDREW

CATHERINE grabs hold of the box and ANDREW relents his hold.

ANDREW

ANDREW grabs the box again and begins to push several of the moon phase symbols.

ANDREW


ANDREW’S POV:

Through ANDREW’S POV, we FOCUS on the puzzle box as he pushes several of the symbols for the moon phases.

CATHERINE

ANDREW

CATHERINE

ANDREW


BACK TO SCENE:

CATHERINE tugs at the box in ANDREW’S grasp.

CATHERINE

ANDREW jerks the box away from CATHERINE’S hold.

ANDREW

Rolling her eyes, CATHERINE relents.

MUSIC: LOVE THEME FROM TWIN PEAKS

ANDREW studies the symbols on the box.

ANDREW


ANDREW’S POV:

Through ANDREW’S POV, we FOCUS on the puzzle box as he pushes the waxing moon at Sagittarius and the waning moon at Capricorn.

ANDREW

ANDREW pushes the waning moon at Pisces and the waxing moon at Sagittarius.


BACK TO SCENE:

Disbelieving, CATHERINE smiles slyly at ANDREW.


ANDREW’S POV:

Through ANDREW’S POV, we FOCUS on the puzzle box as he pushes several of the symbols for the moon phases.

ANDREW

ANDREW pushes the new moon at Aries, the full moon at Libra and the half moon at Cancer.


BACK TO SCENE:

A compartment at the bottom of the puzzle box SPRINGS open.

ANDREW

CATHERINE

CATHERINE grabs the box.

ANDREW YELLS his excitement in CATHERINE’S ear.

ANDREW

CATHERINE slides open the bottom compartment of the puzzle box to reveal another black puzzle box. CATHERINE lifts the smaller box up and examines it.

CATHERINE

ANDREW

ANDREW grabs the smaller puzzle box, puts it on the table, grabs the rolling pin and, with both hands, lifts the rolling pin over his head. As ANDREW swings the rolling pin down we are left FOCUSING on a mounted mountain goat’s head trophy hanging on the wall.


INSERT: SMALL PUZZLE BOX

We FOCUS on a CLOSE-UP of the small puzzle box as the rolling pin swings down and shatters it into pieces.

CATHERINE (OFF SCREEN)


INSERT: MOUNTED MOUNTAIN GOAT TROPHY

We FOCUS on the mounted mountain goat’s head trophy hanging on the wall.


BACK TO SCENE:

MUSIC: PACKARD THEME    31K


From the shattered remains of the small black puzzle box, an even smaller, rectangular aluminum box is revealed.

CATHERINE picks up the small aluminum box and holds its between herself and ANDREW for closer inspection.

CATHERINE

ANDREW

MUSIC ENDS: PACKARD THEME    31K





CUT TO:

EXT. BLUE PINE LODGE - DAY

As the day comes to a close we view the front of the lodge from a distance along the shore of the lake.

MUSIC ENDS: LOVE THEME FROM TWIN PEAKS

FADE OUT:




FADE IN:

INT. THE ROADHOUSE - DAY

MUSIC: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)    144K

We PAN LEFT and survey the interior. A large sign centered above the stage reads, "Miss Twin Peaks, 20th Anniversary." While several COUPLES slow dance on the floor, WORKERS continue to put the finishing touches on the stage.

WORKER #1

WORKER #2

WORKER #1

We continue to PAN LEFT. Several WAITRESSES walk by with platters of drink orders.

We PAN LEFT until we FOCUS on ANNIE and then ZOOM IN on her face. ANNIE, in a blue dress, sits at the bar facing the dance floor.


ANNIE’S POV:

Through ANNIE’S POV we view the dancing COUPLES on the dance floor. In the background, AGENT COOPER slowly makes his way forward. Dressed in a dark suit, COOPER stands, with his hands in his pants pockets, a distance away and smiles.


BACK TO SCENE:

Tight lipped, ANNIE smiles.


ANNIE’S POV:

Through ANNIE’S POV, COOPER extends his right hand for her to come join him on the dance floor.


BACK TO SCENE:

A bit embarrassed, ANNIE head motions slightly for no.


ANNIE’S POV:

Through ANNIE’S POV, COOPER, a bit dejected, puts his hands back in his pants pocket and waits for ANNIE to join him on the dance floor.


BACK TO SCENE:

Though smiling, ANNIE nervously eyes the dancing COUPLES and remains seated.


ANNIE’S POV:

Through ANNIE’S POV, COOPER, a bit impatient, motions with a hand wave for her to join him on the dance floor.


BACK TO SCENE:

ANNIE gets up from her stool at the bar and walks over to COOPER.

COOPER smiles as ANNIE finally makes her way towards him.

In the background, WORKERS arrange the stage and setup the microphone.

COOPER and ANNIE hold hands as they meet on the dance floor.

ANNIE

COOPER

COOPER puts his right hand on ANNIE’S back and extends his left hand, gripping ANNIE’S hand, outward.

COOPER

COOPER and ANNIE begin to dance, moving together slowly while turning in place.

ANNIE

COOPER LAUGHS a little.

COOPER

ANNIE

COOPER

ANNIE

ANNIE moves a little closer to COOPER, leaning on him.

COOPER

COOPER closes his eyes as they dance, leaning on each other.

COOPER

ANNIE

COOPER pulls back slightly.

COOPER

ANNIE quiets COOPER by kissing him.

ANNIE

COOPER

ANNIE

Testing the microphone on the stage, MAYOR MILFORD’S voice BOOMS from the speaker system disrupting ANNIE’S intimate discussion with COOPER.

MAYOR MILFORD

The dance music is cut off by a SWIPE of the needle off of a vinyl record player.

MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)    144K

Distortion WHINES out from the sound system.

MAYOR MILFORD

The microphone nearly cuts out.

COOPER, ANNIE and the COUPLES on the dance floor strain to hear MAYOR MILFORD speak.

MAYOR MILFORD

Frustrated, MAYOR MILFORD looks at the microphone.

MAYOR MILFORD

A WORKER who had been setting up the microphone rushes onto the stage and immediately starts to adjust the height of the microphone.

The dance music is turned back on.

MUSIC: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)    144K

In the background, COUPLES return to dancing.

While ANNIE looks at MAYOR MILFORD on the stage we ZOOM IN on her face as she speaks to COOPER.

ANNIE

ANNIE turns to COOPER.

ANNIE

ANNIE and COOPER gently lean towards each other and kiss. But, with a RING of distortion, the kiss is held short as MAYOR MILFORD again disrupts them as he tests the sound system.

MAYOR MILFORD

COOPER

MAYOR MILFORD (OFF SCREEN)

ANNIE

ANNIE looks towards the MAYOR.

MAYOR MILFORD (OFF SCREEN)

COOPER

COOPER follows ANNIE’S gaze towards the MAYOR.

MAYOR MILFORD

The MAYOR is unable to continue his speech as the telescoping stand of the microphone slowly begins to slide down. MAYOR MILFORD bends down with the microphone as it descends.

ANNIE

COOPER

ANNIE

Reciting COOPER’S quote from the diner, ANNIE smiles and points at him.

ANNIE

COOPER

COOPER brushes his left hand along ANNIE’S cheek.

The room falls dark and a spotlight falls on COOPER. COOPER looks towards the stage.

MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)    144K

On the stage, MAYOR MILFORD taps at the microphone. The stage falls dark.

SOUND EFFECT: SPIRIT PRESENCE RINGING    2K

A spotlight lights the stage to reveal, in SLOW MOTION, a vision of the GIANT frantically waving his arms back and forth and silently mouthing the words NO.




DISSOLVE TO:

EXT. TWIN PEAKS AIRPORT - DAY

SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING    2K

As the last scene FADES OUT, we FADE IN on a CLOSE-UP of the front end of PETE’S powder blue pick-up truck. We PAN UP. PETE is sleeping, and SNORING a little, behind the wheel of his parked truck.

The ROAR of a jet rouses PETE out of his slumber but the flash of the jet’s headlights brightening his window scares him. Mistakenly fearing a crash, PETE thrusts his arms out towards the window.


PETE’S POV:

Through PETE’S POV a speeding jet lifts off the runway.


BACK TO SCENE:

PETE gets out of his truck and runs towards a parked plane a short distance away from the runway.


PETE’S POV:

Through PETE’S POV we FOCUS on the jet flying in the sky.


BACK TO SCENE:

PETE stands behind a parked plane as he watches the jet fly off.

In the background, AUDREY walks up to and stands beside PETE.

MUSIC: JOHN WHEELER’S THEME    50K

PETE is caught by surprise and does a double take of looking towards the jet and back to AUDREY.

Teary eyed, AUDREY stands with her arms crossed as she watches the jet fly off.

AUDREY

PETE shakes his head from side-to-side.

PETE

AUDREY

PETE’S interest is piqued.

AUDREY

PETE

AUDREY

PETE

AUDREY

PETE


AUDREY’S POV:

Through AUDREY’S POV the jet appears smaller as it flies away into the distance.

PETE (OFF SCREEN)


BACK TO SCENE:

PETE

PETE extends his right arm for AUDREY to lean on.

PETE

AUDREY looks at PETE and GIGGLES before smiling brightly.

AUDREY

MUSIC ENDS: JOHN WHEELER’S THEME    50K




CUT TO:

INT. EARLE’S CABIN - NIGHT

GRUNTING in throbbing madness, LEO, seated in a chair, holds his left hand at his left temple.

LEO

MAJOR BRIGGS, also distraught and twitching, lies on the floor next to LEO.

WINDOM joyfully CROONS.

WINDOM (OFF SCREEN)

WINDOM is at his desk working at a computer.

WINDOM


WINDOM’S POV:

Through WINDOM’S POV we view the computer monitor as the image of the Owl Cave Map is rotated clockwise.

WINDOM (OFF SCREEN)


BACK TO SCENE:

WINDOM stands up and looks at LEO.

WINDOM

WINDOM mimics the TICK-TOCK sound from an old cuckoo clock and then sits back down in front of his computer.

WINDOM


WINDOM’S POV:

Through WINDOM’S POV we view the computer monitor as the image of the Owl Cave Map is reduced in size.

WINDOM (OFF SCREEN)


BACK TO SCENE:

WINDOM

WINDOM hits a key on the keyboard.


WINDOM’S POV:

Through WINDOM’S POV we view the computer monitor as a color image of the map for the town of Twin Peaks loads up.

WINDOM (OFF SCREEN)


BACK TO SCENE:

We view a CLOSE-UP on WINDOM’S face.

WINDOM


WINDOM’S POV:

Through WINDOM’S POV we view the computer monitor as the Owl Cave Map is enlarged and superimposed over the map for the town of Twin Peaks.

WINDOM (OFF SCREEN)


BACK TO SCENE:

WINDOM


WINDOM’S POV:

Through WINDOM’S POV we view the computer monitor as a red line blinks on the screen that identifies a common line between the Owl Cave Map and the map for the town of Twin Peaks.

WINDOM CACKLES loudly in delight.


BACK TO SCENE:

We ZOOM IN on WINDOM’S mouth as he LAUGHS madly to himself.

MUSIC: OWL CAVE




DISSOLVE TO:

INT. THE ROADHOUSE - NIGHT

As the image of the last scene FADES OUT, we FADE IN to a CLOSE-UP of COOPER’S face highlighted by a spotlight in the dark as he continues to stare towards the stage.

The vision of the GIANT waving his arms fades away to black.

MUSIC ENDS: OWL CAVE

MUSIC: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)    144K

The stage brightens to reveal MAYOR MILFORD tapping at the microphone trying to get it to work.

ANNIE leans close to COOPER. As COOPER turns to ANNIE he meets her kiss, is overwhelmed and forgets the vision.

MAYOR MILFORD (OFF SCREEN)



CUT TO:

EXT. THE ROADHOUSE - NIGHT

From a distance we view the building with no signs of activity outdoors except the red neon sign on the building of a gun alternately flashing the displaced word ‘Bang.’

MAYOR MILFORD (OFF SCREEN)

MUSIC ENDS: QUESTIONS IN A WORLD OF BLUE (PIANO & SAX VARIANT; NO VOCALS)    144K




CUT TO:

EXT. STREET INTERSECTION - NIGHT

We view a lonely, quiet street intersection. The signal lights, hanging by a wire, sway in the breeze.




CUT TO:

EXT. DOUBLE R DINER - NIGHT

Closed for the day, we view the front of diner and its cafe sign. The interior lights are off but florescent yellow lights under the roofline illuminate the breezy exterior where leaves have gathered.




CUT TO:

INT. TWIN PEAKS HIGH SCHOOL - NIGHT

We MOVE FORWARD through a dimly lit, deserted hallway in the high school.




CUT TO:

INT. THE GREAT NORTHERN - NIGHT

We MOVE FORWARD through a barely lit, quiet hallway in the hotel.




CUT TO:

INT. TWIN PEAKS SHERIFF’S DEPARTMENT - NIGHT

We FOCUS on the empty reception area. A telephone RINGS. We PAN LEFT to the empty hallway.




CUT TO:

INT. SHERIFF TRUMAN’S OFFICE - NIGHT

MUSIC: OWL CAVE

We FOCUS on the Owl Cave map sketch on the blackboard.

MUSIC ENDS: OWL CAVE

We ZOOM IN on Owl Cave map sketch.




DISSOLVE TO:

EXT. GLASTONBERRY GROVE - NIGHT

As the image of the last scene FADES OUT, we FADE IN on a pine tree swaying in the breeze. We PAN RIGHT.

We FOCUS on a circle of twelve young sycamore trees. In the center of the circle of trees is a ring of small round stones similar to a campfire enclosure.

SOUND EFFECT: SPIRIT PRESENCE RINGING    2K

Illuminating a spot of light on a pine tree in the background, a spotlight is cast just above the circle of stones.

A hand, lit by the spotlight, juts out of thin air right above the circle of stones. The whole right arm now juts out of thin air. The hand shakes, twists and feels its way out in the open air.

Its BOB, the man with the dirty gray hair and the jean jacket. BOB, contorting his hand in a spotlight, has now fully materialized.

BOB pulls his arm out of the spotlight and GROWLS.

BOB

SOUND EFFECT ENDS: SPIRIT PRESENCE RINGING    2K

We PAN DOWN to the ash covered rough circle of stones on the ground. In the center of the circle is a pool of black oil.

MUSIC: DANCE OF THE DREAM MAN

In the reflection of the black oil is an image of shimmering red drapes.

MUSIC ENDS: DANCE OF THE DREAM MAN

FADE OUT:




CLOSE:




FADE IN:

MUSIC: LAURA PALMER’S THEME  

We view LAURA PALMER’S homecoming picture as the end credits roll.

MUSIC ENDS: LAURA PALMER’S THEME  

FADE TO BLACK: